The Castle of Wrath, Silk and The Legend of 1900, the only one of Barikao's three works that has not been adapted into a film is The Castle of Wrath. Can this be regarded as a reading stunt? Barikao's writing is like a woman's hand, light and elegant, with a slim and transparent sense of strength. It touches you, but you can't catch it. In Castle of Wrath, this hand holds up everything in Guipa, and everything is exposed to the sky, but all you can see when you look up is that hand. What fascinates the novelist is which way he will choose to hold up his content, which is the way to package and carry the story. Starting from the angry castle, Barrick chose fate. It touches you, but you can't catch it. Until the last chapter, it is the world of Guiba. A lifelike European town: the all-powerful Mr. Rui, the ever-beautiful Mrs. Rui, and Paikes, who can organize the "Voice" band ... stable, provocative, romantic and dreamy ... This town is complete, unique and endless. There should be such a corner on the ancient map. Besides, it has never been contacted with other specific places, so when the engineer asked where the train built by Mr. Rui was going, the answer was blank. Parting and visiting related to the Gui School in the novel are full of misfortune. Mao Mi, the son brought back by Mr. Rui from afar, left Mr. Rui with himself and Mrs. Rui and took away his last strength. Pat put on his jacket and went to the capital. The tenderness and wealth on the pillow buried his hometown. From a distance, Bernadette, an engineer, and Hector Oher, the designer of the Crystal Palace, are like showstopper, whether they are well-intentioned or malicious. The point is, this motorcycle named "Elizabeth" came out of nowhere and didn't know how to get there. It is quietly placed in the center of this town, and a huge and noisy outside world cuts in like this. Without carriages and locomotives, it brings fragmented and ambiguous external information. Seduced by such things, this ancient town can't digest the desire and fear of sudden awakening. When Mr. Rui saw the train, what he saw was "fate", a one-time fate. In his eyes, the significance of the train is only that "it runs on the surface of the earth at an extremely fast speed, and no one or anything can catch up." "People can see the world on the train, just like the first time. They can see a lot of things at once, but they can't see that much by taking a thousand carriages. " Moreover, the trajectory must be a straight line. "Can you see the fate? Everything is doomed, but people can't see anything. The train is a fired bullet, and it is a wonderful metaphor of fate. " Mr. Rui approached the word "fate" with his own imaginary metaphor. Guangxi Xi is a fictional place. In fact, it can be detected in advance without being poked, because the sense of fate in this town is too strong: Mrs. Rui's charming lips, Mommie's arrival and betrayal, Pat's bar mitzvah is a jacket, and Paikes can organize a small town's "vocal" band but can't find its own notes ... Every change is followed by the departure or return of Teacher Rui. He is the window to the outside world, and every time he goes in and out, he is shaking this ancient land. Guipa's fate has long been buried in her own time, just waiting for the anxiety and trembling in the distance to ignite this trajectory. The last fuse is "Elizabeth", the train and the track, which means the entry of speed. Speed ignites time and ignites fate line who is in time together. There is a particularly interesting clip in the article. At the beginning of the train creation, each train will carry a clock to record the departure time. When it returned to the starting point, nothing seemed to change. Just like every time Mr. Rui goes on a business trip, he will send Mrs. Rui a jewelry box with the same piece of jewelry in it before he comes back. With this jewelry box, Mrs. Rui can conclude that the timeline between them is not broken. People, like trains, carry their own time lines with them, as if they can catch something unchangeable. Before speed becomes a daily thing, time can be regarded as a ritual, facing unknown changes. If the concept of civilization is introduced into the train, the biggest influence on people is speed. Speed is a compromise of change, and speed makes time go hand in hand with change. The original Guipa had only one ancient clock. "Time is always divided, and every minute is a wound, a wound of self-liberation." Change is hidden in every minute of the wound. They are breakpoints and self-digesting. Once there is speed, every minute becomes the same unit. Time is quickly integrated and changes are connected in series. Seeing the cause and effect that you can't control, it's easy to mention fate. It's too easy. Fate shouldn't be the cause and effect. "This is fate: it can slip away quietly without leaving any trace; It can also appear in the future. Some moments, some moments in a long life, flashed in the depths of memory, illuminating the way to escape fate. They burn alone, just for an explanation, a casual explanation. " Fate is just a burden and needs no explanation. We need an explanation. This is why we feel helpless. Since the modern civilization represented by "Elizabeth" entered, the demand for this explanation has been particularly strong. In the last section, the novel shows a formal pattern. Everything in Guipa is just a girl's own spiritual roaming place. This imaginary world resists the ugliness of the outside world. In this paper, the Xi- Pa in Guangxi and the fruitless crystal building have become utopian escape places at this time. In this chapter, Barrick seems to be explaining the old topic "What is literature". In fact, the utopia of literary fiction is not opposed to reality. Without ugliness and ruthlessness, there is no motivation to create heaven. If there are no realistic walls and obstacles, there is no need for an illusory place of rebirth for the soul to breathe. Reality puzzles us, but it often leaves us no room to take care of these puzzles. The so-called literary utopia is to build such a space. We all thought that Gui Dad's hand of fate had been raised high, but now, you can look at it calmly. You know why this thing is destroyed, and you know why it is beautiful. Italian novelists are all experts in destroying the real world, such as Calvino, Eco and now Baricao. Comparatively speaking, Barikao's world is relatively exquisite and transparent, which is a leisurely romance. The Castle of Wrath is his first novel. Compared with the later Silk and The Legend of 1900, he has a stronger desire to express things beyond the story. According to Barry Kao's own statement: "It contains some of my views on the world and life. In my other novels, I have always adhered to these views. " So, you can also look at this book as a treasure map, and maybe you can read another one, 1900.